Los Angeles Film School July 2014 October 2015 Recording Arts Catalogue

American orchestra based in Los Angeles, California

Los Angeles Philharmonic
Orchestra
Brusque proper noun	LA Phil
Founded	1919; 103 years ago  (1919)
Location	Los Angeles, United States
Concert hall	Walt Disney Concert Hall Hollywood Basin
Music director	Gustavo Dudamel
Website	www.laphil.com

The Los Angeles Philharmonic, commonly referred to as the LA Phil, is an American orchestra based in Los Angeles, California. It has a regular season of concerts from October through June at the Walt Disney Concert Hall, and a summertime season at the Hollywood Bowl from July through September. Gustavo Dudamel is the current Music Manager, Esa-Pekka Salonen is Conductor Laureate, Zubin Mehta is Conductor Emeritus, and Susanna Mälkki is Primary Guest Conductor. John Adams is the orchestra'south current Composer-in-Residence.

Music critics have described the orchestra as the most "gimmicky minded",^[1] "forrard thinking",^[ii] "talked virtually and innovative",^[three] and "venturesome and admired"^[iv] orchestra in America. Co-ordinate to Salonen, "We are interested in the future. We are non trying to re-create the glories of the past, like and then many other symphony orchestras."^[1] "Especially since we moved into the new hall", continues Deborah Borda (one-time CEO), "our intention has been to integrate 21st-century music into the orchestra'due south everyday activeness."^[5] Since the opening of the Walt Disney Concert Hall on October 23, 2003, the Los Angeles Combo has presented 57 globe premieres, one N American premiere, and 26 U.S. premieres, and has commissioned or co-commissioned 63 new works.

History [edit]

1919–1933: Founding the Philharmonic [edit]

Walter H. Rothwell, first usher, and West. A. Clark Jr., founder of the Los Angeles Philharmonic

The orchestra was founded and unmarried-handedly financed in 1919 by William Andrews Clark, Jr., a copper baron, arts enthusiast, and function-time violinist. He originally asked Sergei Rachmaninoff to be the Combo'southward start music director; however, Rachmaninoff had only recently moved to New York, and he did not wish to move again. Clark then selected Walter Henry Rothwell, onetime banana to Gustav Mahler, as music director, and hired away several principal musicians from East Coast orchestras and others from the competing and presently-to-be defunct Los Angeles Symphony. The orchestra played its first concert in the Trinity Auditorium in the same yr,^[6] 11 days after its outset rehearsal. Clark himself would sometimes sit and play with the second violin section.^[vii]

Later on Rothwell'due south death in 1927, subsequent Music Directors in the decade of the 1920s included Georg Schnéevoigt and Artur Rodziński.

1933–1950: Harvey Mudd rescues orchestra [edit]

Otto Klemperer became Music Director in 1933, office of the large grouping of German emigrants fleeing Nazi Germany. He conducted many LA Phil premieres, and introduced Los Angeles audiences to of import new works past Igor Stravinsky and Arnold Schoenberg. The orchestra responded well to his leadership, just Klemperer had a difficult time adjusting to Southern California, a situation exacerbated by repeated manic-depressive episodes.

Things were farther complicated when founder William Andrews Clark died without leaving the orchestra an endowment. The newly formed Southern California Symphony Association was created with the goal to stabilize the orchestra's funding, with the association's president, Harvey Mudd, stepping up to personally guarantee Klemperer'southward salary. The Combo'south concerts at the Hollywood Bowl also brought in much needed revenue.^{[vii] [viii]} With that, the orchestra managed to make it through the worst of the Swell Low years still intact.

And so, after completing the 1939 summer season at the Hollywood Bowl, Klemperer was visiting Boston and was incorrectly diagnosed with a brain tumor, and the subsequent brain surgery left him partially paralyzed. He went into a depressive country and was institutionalized. When he escaped, The New York Times ran a encompass story declaring him missing. Subsequently he was found in New Jersey, a picture of him backside confined was printed in the New York Herald Tribune. He later lost the post of Music Director, though he all the same would occasionally conduct the Combo. He led some of import concerts, such as the orchestra's premiere functioning of Stravinsky's Symphony in 3 Movements in 1946.^{[7] [9]}

Sir John Barbirolli was offered the position of Music Director later on his contract with the New York Philharmonic expired in 1942. He declined the offering and chose to return to England instead.^[10] The following year, Alfred Wallenstein was chosen past Mudd to lead the orchestra. The onetime master cellist of the New York Philharmonic, he had been the youngest member of the Los Angeles Philharmonic when it was founded in 1919. He turned to conducting at the suggestion of Arturo Toscanini. He had conducted the L.A. Philharmonic at the Hollywood Bowl on a number of occasions and, in 1943, took over every bit Music Director.^[11] Among the highlights of Wallenstein'due south tenure were recordings of concertos with beau Angelenos, Jascha Heifetz and Arthur Rubinstein.^[seven]

1951–1968: Dorothy Buffum Chandler's influence [edit]

By the mid-1950s, department store heiress and wife of the publisher of the Los Angeles Times, Dorothy Buffum Chandler became the de facto leader of the orchestra'south board of directors. Too leading efforts to create a performing arts middle for the city that would serve as the Philharmonic's new home, and would somewhen lead to the Los Angeles Music Center, she and others wanted a more prominent usher to lead the orchestra; after Wallenstein's departure, Chandler led efforts to hire and so Concertgebouw Orchestra principal usher, Eduard van Beinum as the LAPO music manager. The Philharmonic's musicians, management and audition all loved Beinum, just in 1959, he suffered a massive heart assault while on the podium during a rehearsal of the Concertgebouw Orchestra and died.^[8]

In 1960, the orchestra, led again by Chandler, signed Georg Solti to a three-year contract to exist music managing director later he had guest conducted the orchestra in winter concerts downtown, at the Hollywood Bowl, and in other Southern California locations including CAMA concerts in Santa Barbara.^[12] Solti was to officially begin his tenure in 1962, and the Philharmonic had hoped that he would lead the orchestra when it moved into its new dwelling house at the then yet-to-be-completed Dorothy Chandler Pavilion; he even began to appoint musicians to the orchestra.^[13] However, Solti abruptly resigned the position in 1961 without officially taking the post subsequently learning that the Philharmonic lath of directors failed to consult him before naming then 26-year-old Zubin Mehta to be assistant conductor of the orchestra.^[14] Mehta was subsequently named to supercede Solti.

1969–1997: Ernest Fleischmann's tenure [edit]

In 1969, the orchestra hired Ernest Fleischmann to be Executive Vice President and General Director. During his tenure, the Combo instituted a number of then-revolutionary ideas, including the cosmos of the Los Angeles Philharmonic Bedchamber Music Society and the Los Angeles Philharmonic New Music Grouping and its "Green Umbrella" concerts; both of these adjunct groups were equanimous of the orchestra's musicians merely offered operation series which were separate and distinct from traditional Philharmonic concerts. They were eventually imitated by other orchestras throughout the world. This concept was alee of its time, and was an outgrowth of Fleischmann's philosophy, nigh famously laid out in his 16 May 1987 commencement address at the Cleveland Found of Music entitled, "The Orchestra is Dead. Long Live the Community of Musicians."

When Zubin Mehta left for the New York Philharmonic in 1978, Fleischmann convinced Carlo Maria Giulini to have over as Music Director. Giulini's time with the orchestra was well regarded, however, he resigned the position afterward his wife became ill, and returned to Italy.

In 1985, Fleischmann turned to André Previn with the hopes that his conducting credentials and fourth dimension spent at Hollywood Studios would add a local flair and enhance the connection betwixt conductor, orchestra, and city. While Previn'south tenure was musically satisfactory, other conductors including Kurt Sanderling, Simon Rattle, and Esa-Pekka Salonen, fared better at the box role. Previn clashed frequently with Fleischmann; one such conflict occurred over Fleischmann's failure to consult Previn over the conclusion to proper noun Salonen as "Main Guest Conductor", a move mirroring the prior Solti/Mehta controversy. Because of Previn's objections, the position and Japan tour offer made to Salonen were withdrawn; however, shortly thereafter in April 1989, Previn resigned, and four months later, Salonen was named Music Director Designate, officially taking the post in October 1992.^[15] Salonen'southward U.S. conducting debut with the orchestra had been in 1984.

Salonen's tenure with the orchestra first began with a residency at the 1992 Salzburg Festival in concert performances and as the pit orchestra in a production of the opera Saint François d'Assise by Olivier Messiaen; information technology was the offset time an American orchestra was given that opportunity. Salonen later took the orchestra on many other tours of the United States, Europe, and Asia, and residencies at the Lucerne Festival in Switzerland, The Proms in London, in Cologne for a festival of Salonen'southward own works, and in 1996 at the Théâtre du Châtelet in Paris for a Stravinsky festival conducted by Salonen and Pierre Boulez. It was during the Paris residency that key Philharmonic board members heard the orchestra perform in improved acoustics and were reinvigorated to pb fundraising efforts for the soonhoped-for-built Walt Disney Concert Hall.

Under Salonen's leadership, the Philharmonic has go an extremely progressive and well-regarded orchestra. Alex Ross of The New Yorker said:

The Salonen era in L.A. may marking a turning indicate in the recent history of classical music in America. Information technology is a story non of an individual magically imprinting his personality on an establishment—what Salonen has called the "empty hype" of usher worship—but of an individual and an institution bringing out unforeseen capabilities in each other, and thereby proving how much life remains in the orchestra itself, at once the most bourgeois and the nearly powerful of musical organisms. ... no American orchestra matches the L.A. Philharmonic in its power to assimilate a huge range of music on a moment'south notice. [Thomas] Adès, who offset conducted his own music in L.A. [in 2005] and has become an annual visitor, told me, "They always seem to brainstorm by finding exactly the right playing mode for each piece of music—the kind of sound, the kind of phrasing, breathing, attacks, colors, the indefinable whole. That shouldn't exist unusual, but it is." John Adams calls the Philharmonic "the nigh Amurrican [sic] of orchestras. They don't concord back and they don't put on airs. If you met them in twos or threes, you'd have no idea they were playing in an orchestra, that they were classical-music people."^[1]

1998–2009 [edit]

When Fleischmann decided to retire in 1998 after 28 years at the helm, the orchestra named Willem Wijnbergen as its new Executive Manager. Wijnbergen, a Dutch pianist and arts ambassador, was the managing managing director of the Concertgebouw Orchestra in Amsterdam. Initially, his appointment was hailed as a major coup for the orchestra.

One of his most important decisions was to modify Hollywood Bowl programming: he increased the number of jazz concerts and appointed John Clayton serving as the orchestra'due south first Jazz Chair; in addition, he established a new World Music series with Tom Schnabel as programming director^[16] Despite some successes, Wijnbergen left the orchestra in 1999 afterwards only one controversy-filled twelvemonth, and it is unclear whether he resigned or was fired past the Philharmonic'south board of directors.^[17]

Subsequently that same year, Deborah Borda, then the Executive Director of the New York Philharmonic, was hired to accept over executive direction of the orchestra. She began her tenure in January 2000, and was later given the title of President and Chief Executive Officer. After financial bug experienced during Wijnbergen's curt tenure, Borda — "a formidable executive who runs the orchestra like a lean company, not like a flabby non-profit" — "put the system on solid financial ground."^[1] She is widely credited (along with Salonen, Frank Gehry, and Yasuhisa Toyota) for the orchestra's very successful move to Walt Disney Concert Hall, and for wholeheartedly supporting and complementing Salonen'due south creative vision. One example cited past Alex Ross:

Mayhap Borda's boldest notion is to give visiting composers such every bit [John] Adams and Thomas Adès the same royal treatment that is extended to the likes of Yo-Yo Ma and Joshua Bell; Borda talks nearly "hero composers." A recent performance of Adams's awe-inspiring California symphony "Naïve and Sentimental Music" in the orchestra's Casual Fridays series ... drew a nearly full firm. Borda's big-guns approach has invigorated the orchestra's long-running new-music series, called Light-green Umbrella, which Fleischmann established in 1982. In the early on days, it drew modest audiences, only in recent years attendance has risen to the indicate where every bit many as sixteen hundred people show up for a concert that in other cities might describe thirty or forty. The Australian composer Brett Dean recently walked onstage for a Greenish Umbrella concert and did a double-take, saying that information technology was the largest new-music audience he'd ever seen.^[1]

On July 13, 2005, a young Venezuelan conductor, Gustavo Dudamel, made his debut with the LA Phil at the orchestra's summer dwelling, the Hollywood Bowl. In his U.S. debut Tuesday nighttime, a 24-year-old conductor from Venezuela with curly pilus, long sideburns and a babe confront accomplished something increasingly rare and difficult at the Hollywood Bowl. He got a unremarkably restive audition'south full, immediate and rapt attention. And he kept information technology.^[xviii]

On January 4, 2007, Dudamel made his Walt Disney Concert Hall debut with the LA Phil prompting Los Angeles Times critic Marker Swed to write, "Greatness like this doesn't come around frequently."^[nineteen] A few months afterward, on April 9, 2007, the symphony board announced that Esa-Pekka Salonen would step down as the LAP's music director at the end of the 2008–2009 season, and Gustavo Dudamel would succeed him.^{[13] [fourteen] [15]} In 2007, two years before Dudamel's official start equally music director, the LA Phil established YOLA (Youth Orchestra Los Angeles). "The model for YOLA – a nonprofit initiative that supplies underprivileged children with gratis instruments, teaching, and profound lessons almost pride, community, and commitment – is El Sistema, Venezuela's national music preparation programme which, 27 years ago, nurtured the talents of a 5-year-old violin prodigy named Gustavo."^[xx] Only before the beginning of his inaugural flavour with the LA Phil, Dudamel, on May 11, 2009, was included every bit a finalist in Time'south "The Time 100: The Earth'due south Most Influential People."^[21]

2009–nowadays [edit]

Gustavo Dudamel began his official tenure as music manager of the Los Angeles Combo in 2009 with concerts at both the Hollywood Bowl (¡Bienvenido Gustavo!) on October 3, 2009^[22] and the Countdown Gala at Walt Disney Concert Hall on October 8, 2009.^[23] In 2010 and 2011 Dudamel and the LA Phil received the Morton Gould Laurels for Innovative Programming by the American Society of Composers, Authors and Publishers (ASCAP).^{[13] [24] [25]} In 2012, Dudamel and the orchestra won the first place Award for Programming Contemporary Music by ASCAP.^[26] In 2012, Dudamel, the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela performed all ix of Mahler'south symphonies over the course of three weeks in Los Angeles and one week in Caracas, "a mammoth tribute to the composer," and "an unprecedented conducting feat for the usher."^[27] That same year, the orchestra launched a three-year project to present the Mozart/Da Ponte operas, each designed in collaboration with famous architects (sets) and clothing designers (costumes).^[28] The series launched in 2012 with Frank Gehry and Rodarte designing Don Giovanni ^[28] and connected in 2013 with Jean Nouvel and Azzedine Alaïa designing Le Nozze di Figaro.^[29] In October 2011, Dudamel was named Gramophone Creative person of the Year.^[30] In 2012, Dudamel and the LA Phil were awarded a Grammy award for Best Orchestral Performance for their recording of Brahms' Fourth Symphony.^[31] Dudamel was as well named Musical America's 2013 Musician of the Yr.^[32] The LA Phil'due south continued delivery to innovation and new music under the direction of Dudamel and Borda prompted New Yorker critic Alex Ross to name the LA Phil "the most creative, and, therefore, the best orchestra in America."^[33] In 2017, Zachary Woolfe, classical music editor at the New York Times called the Los Angeles Philharmonic "the nigh important orchestra in America. Period."^[34] In 2020 and 2021, Dudamel and the LA Phil were awarded consecutive Grammy awards for Best Orchestral Functioning for their recordings of Andrew Norman'south Sustain (2020),^[35] and for the nerveless symphonies of Charles Ives (2021).^[36]

Operation venues [edit]

The orchestra played its outset flavour at Trinity Auditorium at Grand Ave and 9th Street. In 1920, information technology moved to Fifth Street and Olive Ave, in a venue that had previously been known as Clune's Auditorium, but was renamed Philharmonic Auditorium.^[37] From 1964 to 2003, the orchestra played its master subscription concerts in the Dorothy Chandler Pavilion of the Los Angeles Music Heart. In 2003, it moved to the new Walt Disney Concert Hall designed by Frank Gehry adjacent to the Chandler. Its current "wintertime flavour" runs from October through late May or early June.

Since 1922, the orchestra has played outdoor concerts during the summer at the Hollywood Bowl, with the official "summer flavor" running from July through September.

The LA Philharmonic has played at least ane concert a twelvemonth in its sis city, Santa Barbara, presented by the Customs Arts Music Association (CAMA), forth with other regular concerts throughout various Southern California cities such as Costa Mesa as part of the Orange Canton Philharmonic Lodge'southward series, San Diego, Palm Springs, amidst many others. In addition, the orchestra plays a number of free community concerts throughout Los Angeles Canton.

Conductors [edit]

Music Directors [edit]

Georg Solti accepted the postal service in 1960, just resigned in 1961 without officially beginning his tenure.

Conductor Laureate [edit]

• 2009–present Esa-Pekka Salonen

Before Salonen'south final concert equally Music Director of the Los Angeles Philharmonic on Apr 19, 2009, the orchestra announced his date as its offset ever Conductor Laureate "as acknowledgement of our profound gratitude to him and to signify our continuing connectedness."^[38] In response, Salonen said:

When the Board asked me if I would accept the position of Conductor Laureate I was overwhelmed. This organization has been at the very centre of my musical life for 17 years. I am very proud and honored that they would even consider me for such a prestigious title and it gives me great pleasure to accept. The Los Angeles Philharmonic volition always play an important office in my life and this is a symbol of our continuing relationship.^[38]

Usher Emeritus [edit]

• 2019–present Zubin Mehta

During intermission of a concert on January iii, 2019, Simon Wood (CEO of the orchestra) announced that Zubin Mehta was being given the title of Conductor Emeritus, saying: "Zubin Mehta is i of the treasures of the classical world. He was responsible for hiring over 80 musicians during his tenure at the LA Phil, and it was during this remarkable era that the orchestra rose to a position of international prominence and launched a commitment to deep customs engagement that was truly ahead of its fourth dimension. Today's engagement is an acknowledgment of that incredible past and rich present, and a signal of our profound gratitude for the office he has played in shaping this orchestra."^[39]

Mehta commented: "This is indeed a great honor and I'm very pleased to accept. The Los Angeles Philharmonic has always held a very special place in my eye; they took a gamble and accepted me as a very young conductor. I remain grateful to the orchestra and I'm happy to go along our relationship in this manner."^[39]

Principal Guest Conductors [edit]

• 1981–1985 Michael Tilson Thomas
• 1981–1994 Simon Rattle
• 2005–2007 Leonard Slatkin (Hollywood Bowl)
• 2008–2010 Bramwell Tovey (Hollywood Bowl)
• 2017– Susanna Mälkki

Rattle and Tilson Thomas were named Principal Guest Conductor concurrently under Carlo Maria Giulini, though Tilson Thomas'southward tenure ended much before. Until 2016, they were the only two conductors to officially hold the title as such (though as stated above, Esa-Pekka Salonen was initially offered the position under Previn before having the offer withdrawn).

Beginning in the Summer of 2005, the Philharmonic created the new position of Principal Guest Conductor of the Los Angeles Philharmonic at the Hollywood Bowl. Leonard Slatkin was initially given a 2-year contract, and in 2007 he was given a i-year extension. In March 2008, Bramwell Tovey was named to the post for an initial 2-yr contract starting time Summer of 2008; he after received a i-year extension. After Tovey'south term ended, no conductor has since held the position at the Hollywood Bowl.^{[xl] [41]}

In April 2016, the LA Phil announced that Susanna Mälkki would be the orchestra's tertiary-ever Principal Guest Conductor beginning with the 2017-18 season. Her initial contract is for three years.^[42]

Other notable conductors [edit]

Other conductors with whom the orchestra has had close ties include Sir John Barbirolli, Bruno Walter, Leopold Stokowski, Albert Coates, Fritz Reiner, and Erich Leinsdorf;^[43] more recently, others have included Kurt Sanderling, Pierre Boulez, Leonard Bernstein, Charles Dutoit, Christoph Eschenbach, and Rafael Frühbeck de Burgos.

Many composers have conducted the Combo in concerts and/or world premieres of their works, including Igor Stravinsky, William Kraft, John Harbison, Witold Lutosławski, Aaron Copland, Pierre Boulez, Steven Stucky, John Williams, Jerry Goldsmith, John Adams, Thomas Adès, and Esa-Pekka Salonen.

A number of the Philharmonic'southward Assistant/Acquaintance Conductors take gone on to have notable careers in their ain rights. These include Lawrence Foster, Calvin E. Simmons, and William Kraft nether Mehta, Sidney Harth and Myung-whun Chung under Giulini, Heiichiro Ohyama and David Alan Miller under Previn, and Grant Gershon, Miguel Harth-Bedoya, Kristjan Järvi, and Alexander Mickelthwate under Salonen. Lionel Bringuier was originally named Assistant Usher under Salonen before being promoted to Associate Conductor and, finally, Resident Usher under Dudamel; since so, Mirga Gražinytė-Tyla has served as Assistant Conductor and Associate Conductor under Dudamel.

Other resident artists [edit]

Composers [edit]

• 1981–1985: William Kraft
• 1985–1988: John Harbison
• 1987–1989: Rand Steiger
• 1988–2009: Steven Stucky
• 2009–present: John Adams

Kraft and Harbison held the title "Composer-in-Residence" every bit part of a Meet the Composer (MTC) sponsorship. Steiger was given the title "Composer-Fellow", serving every bit an assistant to both Harbison and Stucky.^[44]

Stucky was also a MTC "Composer-in-Residence" from 1988–1992, only was kept on as "New Music Advisor" subsequently his official MTC-sponsored tenure ended; in 2000, his championship was again inverse to "Consulting Composer for New Music." In the terminate, his 21-yr residency with the orchestra was the longest such human relationship of any composer with an American orchestra.^{[44] [45]}

Adams has been named the orchestra's "Artistic Chair" beginning in Fall 2009.

Artistic director and creative chairs for Jazz [edit]

• 2002–2006: Dianne Reeves
• 2006–2010: Christian McBride
• 2010–nowadays: Herbie Hancock

Reeves was named the starting time "Artistic Chair for Jazz" in March 2002. Instead of just focusing on summer programming, the new position involved the scheduling of jazz programming and educational workshops yr round; every bit such, she led the evolution of the subscription jazz series the orchestra offered when it moved into Walt Disney Concert Hall. In addition, she was the start performer at the 2003 inaugural gala at the Walt Disney Concert Hall. Her contract was initially for two years, and was subsequently renewed for an additional ii years.^[46]

McBride took over the position in 2006 for an initial two-year position that was subsequently renewed for an additional two years through to the starting time of the 2010 summer season at the Hollywood Basin. In 2009, the orchestra introduced Hancock as McBride's eventual replacement.

In 1998, prior to the establishment of the Creative Chair for Jazz, John Clayton was given the title "Artistic Director of Jazz" at the Hollywood Bowl for a three-twelvemonth term first with the 1999 summer season. His ring, the Clayton-Hamilton Jazz Orchestra, acted as the resident jazz ensemble.^[xv]

Recordings [edit]

The orchestra occasionally made 78-rpm recordings and LPs in the early years with Alfred Wallenstein and Leopold Stokowski for Capitol Records, and began recording regularly in the 1960s, for London/Decca, during the tenure of Zubin Mehta as music managing director. A healthy discography continued to abound with Carlo Maria Giulini on Deutsche Grammophon and André Previn on both Philips and Telarc Records. Michael Tilson Thomas, Leonard Bernstein, and Sir Simon Rattle as well made several recordings with the orchestra in the 1980s, adding to their rising international profile. In contempo years, Esa-Pekka Salonen has led recording sessions for Sony and Deutsche Grammophon. A recording of the Concerto for Orchestra by Béla Bartók released past Deutsche Grammophon in 2007 was the first recording by Gustavo Dudamel conducting the LA Phil.

The Los Angeles Philharmonic has performed music for movement pictures, such as the 1963 Stanley Kramer film It's a Mad, Mad, Mad, Mad Globe (composed by Ernest Gilded), the pilot flick of the original Battlestar Galactica TV testify (composed by Stu Phillips and Glen A. Larson), and the most contempo 2021 moving picture version of the Broadway musical West Side Story (composed by Leonard Bernstein). The LA Combo also performed the beginning North American concert for the pop Final Fantasy franchise game music, Dear Friends: Music From Terminal Fantasy by Nobuo Uematsu. The orchestra has nearly recently recorded the sound track for the video game: BioShock 2 as composed past Garry Schyman.

World premieres [edit]

Season	Date	Composer	Limerick	Conductor
2011–12 [47]	2011–10–20	Enrico Chapela	Concerto for Electric Guitar	Gustavo Dudamel
	2011–11–11	Richard Dubugnon	Battleground	Semyon Bychkov
	2011–11–25	Anders Hillborg	Sirens	Esa-Pekka Salonen
	2011–12–02	Dmitri Shostakovich (posth.)	Prologue to Orango (reconstructed by Gerard McBurney)	Esa-Pekka Salonen
	2012–04–x	Oscar Bettison	New York	John Adams
	2012–05–08	Joseph Pereira	Percussion Concerto	Gustavo Dudamel
	2012–05–31	John Adams	The Gospel According to the Other Mary	Gustavo Dudamel
2012–13 [48]	2012–09–28	Steven Stucky	Symphony	Gustavo Dudamel
	2012–ten–xvi	Daníel Bjarnason	Over Light Earth	John Adams
	2013–01–18	Peter Eötvös	DoReMi	Pablo Heras-Casado
	2013–02–26	Unsuk Chin	Graffiti	Gustavo Dudamel
	2013–02–26	Joseph Pereira	Concerto for Percussion and Chamber Orchestra	Gustavo Dudamel
	2013–04–16	Matt Marks	TBD	Alan Pierson
	2013–04–18	Ted Hearne	But I Voted for Shirley Chisholm	Joshua Weilerstein
2014-15 [49]	2014-11-xx	Stephen Hartke	Symphony No. four "Organ"	Gustavo Dudamel
	2015-05-14	Kaija Saariaho	Truthful Fire	Gustavo Dudamel
	2015-05-26	Christopher Cerrone Sean Friar Dylan Mattingly	The Pieces That Fall to Earth Finding Fourth dimension Seasickness and Being (in love)	John Adams
	2015-05-28	Bryce Dessner Philip Glass	Quilting Concerto for Two Pianos	Gustavo Dudamel
	2015-05-29	Steven Mackey	Mnemosyne'due south Pool	Gustavo Dudamel
2015-sixteen	2016-02-25	Andrew Norman	Play: Level one	Gustavo Dudamel
	2016-05-06	Louis Andriessen	Theatre of the World	Reinbert de Leeuw
	2016-05-28	Arvo Pärt	Greater Antiphons	Gustavo Dudamel
2016-17	2017-02-24	James Matheson	Unchained	James Gaffigan
	2017-04-15	María Huld Markan Sigfúsdóttir	Aequora	Esa-Pekka Salonen
2017-18	2017-10-12	Gabriela Ortiz	Téenek - Invenciones de territorio	Gustavo Dudamel
	2017-10-fifteen	Arturo Marquez	Danzón No. 9	Gustavo Dudamel
	2017-12-02	Tania Leon	Ser (Being)	Miguel Harth-Bedoya
	2018-01-25	Joseph Pereira	Concerto for timpani and ii percussion	Gustavo Dudamel
	2018-02-23	Nico Muhly	Organ Concerto	James Conlon
	2018-03-31	Isaac Pross Adam Karelin Benjamin Beckman	Under the Tabular array Constructs a(de)scendance	Ruth Reinhardt
	2018-04-13	Esa-Pekka Salonen	Pollux	Gustavo Dudamel
2018-19	2018-09-27	Julia Adolphe	Underneath the Sheen	Gustavo Dudamel
	2018-09-30	Paul Desenne	Guasamacabra	Gustavo Dudamel
	2018-10-04	Andrew Norman	Sustain	Gustavo Dudamel
	2018-11-01	Steve Reich	Music for Ensemble and Orchestra	Susanna Malkki
	2018-11-18	Christopher Cerrone	The Insects Became Magnetic	Roderick Cox
	2019-01-10	Philip Glass	Symphony No. 12 Lodger	John Adams
	2019-02-07	Du Yun	Thirst	Elim Chan
	2019-02-17	Adolphus Hailstork	However Belongings On	Thomas Wilkins
	2019-03-07	John Adams	Must the Devil Take All the Good Tunes?	Gustavo Dudamel
	2019-04-05	Unsuk Chin	SPIRA	Mirga Gražinytė-Tyla
	2019-05-02	Louis Andriesson	The simply one	Esa-Pekka Salonen
	2019-05-10	Thomas Ades	Inferno	Gustavo Dudamel
2019-20	2019-ten-03	André Previn	Can Jump be Far Behind?	Gustavo Dudamel
	2019-x-10	Esteban Benzecry	Piano Concerto "Universos infinitos"	Gustavo Dudamel
	2019-10-19	Esa-Pekka Salonen	Castor	Esa-Pekka Salonen
	2019-x-24	Daníel Bjarnason	From Infinite I saw Earth for 3 conductors	Gustavo Dudamel, Zubin Mehta, Esa-Pekka Salonen
	2019-10-26	Esa-Pekka Salonen	Castor and Pollux (Gemini)	Esa-Pekka Salonen
	2019-10-27	Gabriela Ortiz	Yanga	Gustavo Dudamel
	2020-01-eighteen	Julia Wolfe	Flower Ability	John Adams
	2020-03-22	Julia Adolphe	Cello Concerto (Postponed)	Karen Kamensek
2020-21
2021-22	2021-12-03	Julia Adolphe	Woven Loom, Silvery Spindle	Xian Zhang

Management [edit]

Funding [edit]

The Los Angeles Philharmonic has seen its endowment booming in recent years, to around $255 million in 2017. In 2002, it received its largest-ever souvenir when the Walt and Lilly Disney family unit donated $25 one thousand thousand to endow the music directorship. David Bohnett donated $20 one thousand thousand in 2014 to endow the orchestra's elevation authoritative post and create a fund for engineering science and innovation.^[50]

As of 2019, the Los Angeles Philharmonic's annual budget is at approximately $125 million.^[51]

Main executives [edit]

• 1969–1997: Ernest Fleischmann
• 1998–2000: Willem Wijnbergen
• 2000–2017: Deborah Borda
• 2017–2019: Simon Woods^{[52] [51]}
• 2019–present: Chad Smith^[53]

See also [edit]

• Hollywood Basin Orchestra
• Los Angeles Junior Philharmonic Orchestra
• Los Angeles Philharmonic discography
• Los Angeles Philharmonic Constitute

References [edit]

1. ^ ^{a b c d east} Ross, Alex (April 30, 2007). "The Anti-maestro; How Esa-Pekka Salonen transformed the Los Angeles Philharmonic". The New Yorker.
2. ^ Ross, Alex (Jan 7, 2008). "Maestra; Marin Alsop leads the Baltimore Symphony". The New Yorker.
3. ^ Patner, Andrew (April 10, 2007). "'Say information technology ain't and so,' music fans lament; Triumphant CSO debut makes pain of losing him worse". Chicago Sun-Times.
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External links [edit]

• Official Los Angeles Philharmonic website
• Official Hollywood Bowl website
• Gustavo Dudamel LA Phil Information and Performance Schedule
• Legendary LA Phil executive director Ernest Fleischmann in Conversation
• LA Phil Alive

glassdriers.blogspot.com

Source: https://en.wikipedia.org/wiki/Los_Angeles_Philharmonic

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